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Panel:

ED HAN – Executive Creative Director, Walton/Issacson- New YorkEd Han is the Executive Create Director at Walton/Issacson. His 20 plus years in the business have led him to realize that “It’s about the people, not the work. Do the people part right and the work will follow.” To put beauty back into the world one image at a time, to help communicate the joys of life and to collaborate with wonderful people are his true passions.

HILLARY JACKSON – Senior Art Producer, Saatchi & SaatchiHillary Jackson just recently moved to NYC from Denver, Colorado where she was working as an Art Producer at Crispin Porter and Bogusky for the last five years working on accounts like VW, Microsoft, Dominos, Old Navy, and Kraft. She now works as a Senior Art Producer for Saatchi & Saatchi where she produces shoots for a variety of Proctor and Gambel jobs and Lenovo. She is a Colorado native and loves all things sporty (skiing, biking, running, soccer, and sometimes a little tipsy sledding mixed in) and is loving this crazy new city! So far the walking/people watching is amazing and the subway has yet to get the better of her.

MICHELLE STARK – Photo Editor, Men’s HealthMichelle Stark is a New York based photo editor who currently works at Men's Health Magazine where she doesn't only work on photo shoots of men. Her work includes collaborating with photographers on a wide variety of photography including food, fashion, portraiture and still life. Previously, she worked at Glamour Magazine and Men's Fitness Magazine. A native of Texas, she is an expert on Mexican food and is still seeking out the best tacos and guacamole in NYC. When she's not at work, she enjoys weekend getaways, dinner parties, documentaries and fresh flowers.

SURVEY

I surveyed 38 people – art buyers and

creatives at ad agencies – to supplement

opinions that will be given by our panel.

I find it interesting that there is a diversity

of opinions that might be helpful to

photographers seeking to get noticed in

our industry.

– Andrea Stern

SURVEY QUESTION POSED (2 slides)

In addition to using websites, testing, and

portfolios, there are many areas of promotion

photographers might wish to consider. Please tell

me which of the following would reach and/or

influence you. Please add others.

– Blog

– Third-party blogs that feature various

photographers

– Email promos

– Portfolio showings

– Personal emails from the photographer to

you

– Direct mail

SURVEY LIST (POSSIBILITIES)

– Workbook.com

– Photoserve.com

– Foundfolios.com

– AtEdge.com

– LeBook.com

– Printed sourcebooks

– Archive magazine

– Social media sites (Facebook, etc.)

– In-person networking at events

– Contests

Art Buyer in Chicago:

I am open to everything on the list. You

never know where you are going to find the

perfect person.

27 ART BUYERS POLLED

30% 30%

63%

74%

48%

67%

37%

48%

41%

26%

59% 56%

33%

52%

26%

52%

0%

10%

20%

30%

40%

50%

60%

70%

80%

11 ART DIRECTORS POLLED

27%

45%

27%

73%

36%

55%

18%

36%

9% 9%

45%

27% 27%

82%

27%

82%

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

EMAILS (4 slides)

• Do I read personal emails from the photographer? If I know the photographer I would read a personal email; otherwise it would get deleted. Boston AD.

• Personal emails from the photographer? Enjoy getting them, and enjoy responding, as long as the photographer isn't sending me a note every week. Keeping in touch is essential - stalking is annoying. Chicago AB.

MORE ON EMAILS

• Email promos? Yes, but it’s all in the timing. If I’m not busy, I’ll click to review work. But if I’m knee deep in production, I have no choice but to delete. I simply lack the time to be fair to all. NY AB

• Email promos? I prefer an indication of the category the work fits into. That way, when a buyer is looking for something specific, they are able to pull the image/ information easily. Minneapolis AB.

STILL MORE ON EMAILS

• Email promos? Yes, with a funny title or something eye catching to make it stand out from the 100 other e-promos I get ;-) L.A. AB

• Email promos? I get tons of clutter email daily. In fact, I was about to delete this survey until I noticed that it was from Andrea. L.A. AD

YET MORE ON EMAILS

• “Personal” emails from the photographer?

Only if they know me or my work, not if

they are pretending to know me. That

bugs. L.A. AD

WEBSITES (3 slides)

• THE most important tool. I haven't “called in” a portfolio in so long. But as to Websites - I'm about to reach the max on my bookmarks, I'm certain! Chicago AB.

• The main thing I look at is a photographer’s website. If that's not great, or not easy to view large scale photos then it's a huge deterrent. I think if I got an email from a rep with a photo that I loved, I would click through to the website. L.A. AD

BAD WEBSITES

• Sorry to sound cruel, but 90% of these sites are

terrible, overly flash-done and slow to load. I barely

have time to look at links and I just skip people who

have sites that don't open or function quickly.

• Same for dumb graphics that overlay/build on

everything. And, please, no moving film strips of

images! No screen takeovers! No cumbersome

flash!

• Photographer’s websites shouldn't demand to

dominate my computer, especially while I am trying

to be on email at the same time. Please make it easier for me. LA Creative Director.

WEBSITES

• Personal hello is better then a 5mb email

with photos or links to a slow site. Have a

simple site with fast reviewing. If I'm

waiting for a site to load, it better be great

or it’s toast. L.A. AD

DIRECT MAIL (3 slides)

• Direct mail: I still like mail promos. Some are

quite elaborate, and I'm not sure that they are

worth the money, as I feel it should be

invested in their websites. Chicago AB

• Direct mail? I think photographers and reps

should do their homework before sending out

promos. You don't want to send an AB who

works exclusively on automotive either a

fashion or food promo. L.A. AB

DIRECT MAIL OF PROMOS

• What I get rid of? The gimicky

promos (toys, boxes filled with stuff,

oversized posters), and,

unfortunately, those are the most expensive to make. L.A. AB

DIRECT MAIL PROMOS

• Promo pieces that are very elaborate

do get attention, but sometimes those

pieces are given to print producers or

designers for inspiration. I really think

the attention should go into the

images. That's really what gets our

attention. Minneapolis AB

WHOM TO APPROACH?

• I think your biggest connection is to

the Art Buyers. Honestly a lot of AD’s

are so busy we throw out a look or

style to the AB and tell them to send

us some links. L.A. AD

COLD CALLS

• Cold calling is tough. Under current economic

conditions, buyers’ workloads are pretty

intense. Unexpected calls can be disruptive to

everyday workflow. Also, keep in mind that the

buyers look at so much work and your

email/promo may not be at the top of their

mind when you call. I'd recommend you avoid

trying to play the recall game by asking if we

received your promo, that can be painful.

Minn. AB

NETWORKING AND PERSONALITY

(3 slides)

• In-person networking at events – If the

photographer has a great personality, then use

it, but less necessary if they are really talented.

Detroit AB.

• If I like the photographer, I would add his or her

link to my collection of "people to hire" so when

the right job comes up, I have them in mind

already. L.A. AD

SELECTING A PHOTOGRAPHER

• When concepting for a job I sometimes think of a

photographer who would be suitable for the idea

- to really make it come to life. But it is early in

the process as the idea still needs to be sold to

creative directors, account managers and

eventually the many layers of client approval.

• We often have to triple bid a photographer to

most clients. In my experience the first choice

always gets awarded the job. Boston AD

NETWORKING

• Word of mouth works: news traveling from

colleagues. N.Y. AB

EXPERIENCE

• I am a magazine junkie: I am constantly

looking at the magazines to see who is

shooting what. But not everyone is hired

by the magazines, so I understand this

may not work for you. N.Y. AB

A GOOD REP

• Frankly, I prefer to deal with a good rep. I can be

more honest with the Rep as to why work is not right

for me. While the Rep has some skin in the game,

they never take the rejection personally. And, they

can do the hard-sell without there being any

awkwardness.

• There are many fine photographers to choose

from. The field is saturated – Having a good agent

who has the connections can go a long way. When

the agent isn’t flexible or is difficult, I look for

alternate options. Minneapolis AB.

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